Srijon Chowdhury at Frye Art Museum


Srijon Chowdhury’s debut solo museum exhibition metes out dizzying diversifications in taste, style, and scale. But his paintings’s coherence across the topics of lifestyles, demise, and fantasy anchors the viewer.

Guests are greeted by means of Light Rider, 2019, a large-scale portray of an alabaster horse and its scythe-carrying passenger. The bottom this reaper traverses pullulates with floral motifs rendered with various levels of verisimilitude—some resemble sea stars or celebrity fruit greater than blossoms. This otherworldly lawn is bounded by means of a metallic-looking fence formed to resemble textual content, which sprouts from the canvas’s base, and a crepuscular horizon inches from its most sensible edge. Like a lot of Chowdhury’s paintings, Light Rider is laced with allusions. The letter fence consists from a distorted line out of a William Blake poem, whilst the picture remembers the flat, tapestry-like works of Klimt’s “Golden Length” and horsemen portrayed by means of Rembrandt, Kandinsky, and even Clint Eastwood.

This sprawling, surreal image is juxtaposed with concise feats of hyperrealism, as we see in different works reminiscent of Inez with Sunflowers, 2022, through which a moody kid contemplates a fading bouquet. The titular association of blooms is situated on a desk without delay between us, in order that the kid’s upward gaze mirrors our personal.

The crescendo of “Similar Previous Tune”—the identify of Chowdhury’s exhibition right here—is a big gallery containing six huge close-ups of 2 human eyes, a couple of ears, a nostril, and a mouth. Each and every piece includes a other tableau: A climactic water beginning is emblazoned throughout an iris in Eye (Beginning), whilst a determine such as Saint George problems from the eponymous topic of Ear (Excellent), each 2022. At the lips that gird the hellish, fifty-two-foot-wide maw in Mouth (Divine Dance), 2022, one deciphers shadowy figures excerpted from Chowdhury’s different art work. Doubles of each the pallid rider and the lady in exertions are faintly visual.

Suspended around the gallery’s 4 partitions, those photographs convey eye, ears, nostril, and mouth in combination right into a unmarried psyche—one witness to a global teeming with martyrs, vegetation, and demons.